In the design process of creating possibilities for experiences, the designer must first thoroughly understand what experiences are desired by the potential product users. This is design research. Although there are many methods to understanding these desired experiences, the most accurate ones bring the designer closest to a personal experience of actually being the user them self. This discussion then, is not about the ‘how’ of conducting research, but rather about the ‘what’ and ‘why’ of conducting it. With an intimate knowledge of the user’s desires, the research can then be used to clarify the initial project brief and more effectively direct the product’s further development.

The quantity and quality of research a designer is involved in will vary from project to project, depending partly upon the designer’s existing knowledge of the product and its market. One who works at a design consultancy will work on many different projects and be exposed to many opportunities to research new categories of products. While one who works as a member of an internal design team will become a specialist in that area and not need to gather new data so often. It is the difference between being someone who knows some things about many things, or one who knows many things about some things.

Design research also happens at a variety of frequencies along a project’s development. Some clients only request research be done at the initial concept development level, while others will require the initial research be continually clarified and verified throughout the development as new ideas are generated and functional prototypes are tested. Designing a computer multimedia audio system will generally require less research than designing a piece of medical equipment utilizing a revolutionary new invasive radioactive isotope tracking device, for example.

This also points to another aspect defining the research done, which naturally is to consider the type of product being designed. A more fashion oriented product like a wrist watch for teenagers will emphasize cultural and lifestyle research, while a more functional product like a piece of personal exercise equipment for middle aged adults may utilize more ergonomic research.

Most often, and possibly most importantly, the designer is involved with the concept development level of research. This level is commonly focused on four areas that lead to an increasingly deep understanding of the product user: similar product information, the designer’s similar product experience, the user’s similar product experience, and user lifestyle information. Typically the designer is provided with some initial information about the similar products and users, but ideally the designer them self will look deeper to have their own experience of these issues.

1.    Similar product information ... Find out everything possible about the existing similar products in the market. What is the history of that kind of product? Visit stores that sell the products to take photos and talk with sales people about what their customers are buying and why. Gather recent information from the datasphere of newspapers, the internet, the library and related categories of magazines. What do the current buying guides tell about the products? What are the price differences? What are the differences in features? Who are the competing companies? What are the predictions for the product’s future

2.    Personal similar product experience ... The designer becomes the user by personally experiencing similar products themselves. This is most accurate way for a designer to feel the desires of the user and then truly be able to create concepts to fulfill those desires. Listening to Santana play the guitar, reading about Jimi Hendrix playing the guitar, watching Eric Clapton in concert ... none of these things will help you design a better guitar than actually playing one yourself! It is neurokinetic interactions that build the most complete and long lasting understandings of ideas. Take the products apart to see how they work, how they were manufactured, how easy they are to assemble and disassemble for maintenance or recyclability. What materials are used? How durable are they? How intuitive are they to use? What reactions do they cause to all the senses?

3.    User’s similar product experience ... Along with the designer’s own experience, it is also critical to gather information from several typical users of the products. Different users will reveal different qualities about the product. The designer should closely watch other people using the products, video tape them if possible for further review. Watch their facial expressions for the most honest feedback. What context or environment is the product used in? Question why they bought it. What are their likes and dislikes about it? What would they change about it? What expectations did they have that were and were not met? Where do they store it? How easy is it to maintain? How often is it used? How long have they owned it? Would they buy another one, or recommend it to a friend? How much did it cost? How do they feel when they are using it?

4.    User lifestyle information ... Some lifestyle research is typically done at the beginning of the project, but it is usually rather general and based on common sense cultural assumptions. If possible, the designer should investigate the lifestyles of the users in more depth to perhaps uncover some new trends or unexpected needs. Everything people surround themselves with tells something about their values and desires. Information directly and indirectly related to the product will all feed the subconscious ideation process for creating connections and new possibilities. Race, gender, age, nationality, culture, home location, job description or retirement status, income level, social status, marital status, health status, family role, education level, foods eaten or favorite restaurants, clothes worn, car driven, pets owned, books and magazines bought, environmental values, political views, hobbies, sports, smoker or non smoker, technology awareness, goals for the future, etc.

All of this data then must be organized and sifted through to clearly identify the user’s desires ... both physical and emotional desires. This process can be a complex one, depending on the quantity of data, and seems best done with a group of three or four people who can interrelate each others' views in an open evaluation environment. The goal is to identify not only the specific physical qualities or features desired, but also more importantly to identify the fundamental human desires that cause people to desire those physical attributes. It is within the realm of these primal human desires that new and improved forms of physical interaction can be created to generate the experiences people are seeking.

Jonathan Ive of Apple Computer Inc. wrote, for example, ‘One primary objective for the design of the iMac was to create something accessible, understandable, almost familiar.’ The Apple design group recognized not only that people wanted a product that would compute ... but also that people want a product that is ‘accessible’ and ‘understandable’, meaning I have easy access to this object. I understand this object and have control of it. And also ‘familiar’, meaning I recognize and can relate to this object. I am comfortable around it. He goes on to tell about the carrying handle of the iMac, ‘While its primary function is obviously associated with making the product easy to move, a compelling part of its function is the immediate connection it makes with the user by unambiguously referencing the hand ... Seeing an object with a handle, you instantly understand aspects of its physical nature – I can touch it, move it, it’s not too precious ...’

These are examples of how Apple’s research showed them the importance of people’s desire to feel comfortable with the objects they surround themselves with. This is not a specific market characteristic but rather a globally human trait, which means that if that need is met in the product, the product will appeal to a huge number of people around the world ... which the iMac has done. Apple created a form of physical interaction to add to the iMac based on their ability to see the user’s desire for experiencing emotional comfort through their research of computer users. So not only does the iMac have a handle, but also it is a highly featured aspect of the design.

User research is not really about focus groups, ergonomic calculations or analyzing lifestyle questionnaires, it is about searching for, and identifying, the truest and deepest levels of people’s desired experiences. And then it is to be used throughout the design process, not only at the conceptual level, but also when considering the entirety of detail elements. It is about understanding people, in order to create better lives for them.